"A good composer does not imitate," said Stravinsky, "he steals." His mantra lay behind Remix, a collaboration between the London Sinfonietta and the Orchestra of the Age of Enlightenment, featuring arrangements or transcriptions of one composer by another.

Stravinsky himself featured in the Sinfonietta's solo programme, dubbed Cover Versions, though his Suite Italienne – arranged from his ballet Pulcinella, itself arranged from originals by Pergolesi and others – is really a cover of a cover. Cellist Timothy Gill and pianist John Constable were a little prosaic, robbing it of some of its bite and finesse. But throughout the rest of the programme, which comprised 14 small items divided into four groups, the ensemble's clever programming and accomplished musicianship were everywhere in evidence.

New was Anna Clyne's variants on Britten's early choral work A Hymn to the Virgin – the first a pretty straight transcription for string quintet, the second, Resting in the Green, a more personal and distanced reaction, with a pre-recorded track. Both showed a fastidious ear for colour and an individual response to Britten's heady harmony. Elsewhere, there were sets based on Purcell's string fantasias, including Colin Matthews's distinctly 20th-century addition to the broken-off 17th-century fragment that is Fantasia XIII; and Machaut, with Birtwistle's 1969 take on his medieval predecessor in Hoquetus David exploring that shrill and punchy sound-world the composer was even then configuring.